PR 2879 
.S7 
Copy 1 



A MIDSUMMER 
DANCE DREAM 

A Fantastic Comedy 
in One Act 



BY 

ANNA BIRD STEWART 

AND 

WILLIAM SHAKESPEARE 



PRICE, TWENTY-FIVE CENTS 



WAYNE PUBLISHING COMPANY INC. 

15S Wkst Forty-Fourth Street 

NEW YORK CITY 



A MIDSUMMER DANCE DREAM has been uniformly suc- 
cessful. It is unique in its double appeal, to the student and 
to the casual observer. It has never had an unfavorable press 
comment. These are a few of its many professional endorse- 
ments : 

"Having produced A MIDSUMMER DANCE DREAM with 
great success in three different cities, I can heartily recom- 
mend it to professionals and amateurs." 

Jessie Bonstelle. 

"A rollicking satire. ... It was enthusiastically received." 

Neic York Dramatic Mirror. 

"To paraphrase a bit, play's the thing. The program an- 
nounces the fantasy as by Anna Bird Stewart 'and William 
Shakespeare.' The latter, of course, was not present to de- 
fend himself. If he had been he would have revelled in the 
merriment created when his sage utterances were garbled by 
the participants in this frolic, and have cherished no resent- 
ment at the piecemeal manner in which his choicest thoughts 
were served by the characters, each of which was drawn with 
such fidelity as to be readily distinguishable." 

Detroit Free Press. 

"The closing play was the most delightful and amusing of 
all . . . Miss Stewart's play has both daintiness and spirit. 
... It is truly a fantasy, but one which cannot fail to please, 
and will undoubtedly prove the success of the bill." 

Herald, Northampton, Mass. 
( the home of Smith College ) . 

"Miss Stewart plays most cunningly and skilfully with the 
lines of the bard, revising them and bringing them up to the 
minute in a manner worthy of a poet, such as she herself is. 
Of course, the travesty is exceedingly funny, but in spite of 
the fact that it is a trayesty, it is most artistically presented 
and those who present" ife deserve highest commendation." 

"** Buffalo Enquirer. 

"A MIDSUMMER DANCE DREAM was read at the meet- 
ing of the Shakespeare Club of New York City, and was thor- 
oughly enjoyed and appreciated for its cleverness in so using 
Shakespeare's lines as to make the characters and their 
speeches entirely consistent and interesting." 

Myra B. Martin, President of the 
Shakespeare Club of New York. 



A MIDSUMMER DANCE DREAM 



Wayne Publishing Company Inc., New York City. 
List for schools and children by ivriters icho understand 
children. 
THE GENTLEST GIANT (and Other Pleasant Per- 
sons) by Anna Bird Stewart; pictures by Dugald 
Stewart Walker; verses for children to read and 
recite. $1 net. 
A MIDSUMMER DANCE DREAM, by Anna Bird 
Stewart and William Shakespeare, a fantastic com- 
edy in one act. 25 cents net. 

Children's plays tchich have succeeded 
In manuscript only. Terms on application. The fol- 
lowing plays have elastic casts, are suitable for 
girls and boys or all girls, and have been presented 
both indoors and out. 

By Josephine Wilhelm Hard: 3 plays in verse (8-16 
years) : 

PANDORA'S BOX. 1 act Greek masque with Pro- 
logue and Pageant of Father Time . and Four Sea- 
sons; 4 speaking parts, extras for pageant and 
dance. 

THE MIRACULOUS PITCHER (from Hawthorne). 
1 act; simple Greek costumes; 7 speaking parts, 
p\tr3,s for dunce 

THE GARDEN OF PARADISE (from Hans Ander- 
sen ) . 3 act fairy tale, 2 simple scenes ; 8 speak- 
ing parts, extras for fairy dance. 
By Alice Fowler: 

KING MIDAS. 1 act masque (8-16 years), effective 
transformation scene; 6 speaking parts, extras for 
Dance of the Roses. 
By Jane Drake Abbott: 

LIGHTHEART. 2 acts, same scene (6-12 years), 13 
speaking parts, 10 extras (7 boys, 16 girls, or all 
girls ) , plays 45 minutes. 

THE MOON QUEEN. 2 acts, same scene (5-14 
years), 12 speaking parts, 3 boys, 9 girls, 9 extras; 
plays 40 minutes. 
By E. Graves Mabie: 

THE LITTLE BOY WHO WONDERS. 2 act human- 
itarian play (5-15 years), animal characters; 9 
boys, 5 girls (interchangeable). 

THE GARDEN WITCH. 3 act morality play (12- 
18 years), 10 boys, 14 girls. 



A MIDSUMMER 
DANCE DREAM 

A Fantastic Comedy 
in One Act 



BY 

ANNA BIRD STEWART 

AND 

WILLIAM SHAKESPEARE 



The public reading and acting rights of this play are 
reserved by the publishers, and permission for such per- 
formances must be obtained from them before performances 
are given. All unauthorized productions will be prose- 
cuted to the full extent of the law. 



FOR TERMS ADDRESS 

WAYNE PUBLISHING COMPANY INC. 

153 West Forty-Fourth Street 

NEW YORK CITY 



To LAURA JUSTINE BONSTELLE STUART 

TO THE PUBLIC 

JESSIE BONSTELLE 

TO US 

BONNIE. 



*1 



MAR -2 1916 



Copyrighted January 20, 1915, as a dramatic composition by 
ANNA BIRD STEWART AND "WILLIAM SHAKESPEARE. 

Copyrighted February, 1916 by 

WAYNE PUBLISHING COMPANY INC. 

New York City. 

All rights reserved, including that of translation into 
foreign languages, including the Scandinavian. 

All public reading and acting rights are 
reserved by the publishers. 



4 3193 



SYNOPSIS 

T>he Induction 

Justine, a college girl, who is working on her 
graduating thesis, "The Heroines of Shakespeare", 
refuses to join her classmates in a dance at the gym 
in order to finish it. Overwork makes her sleepy. 
Through the mischievousness of Puck, who casts a 
spell over her dreams, the heroines become tangled 
in a theme of modern dancing, hence : 

The Dream 

Hermione and her daughter have fallen upon hard 
times. Proud of having taught Hamlet the "hesi- 
tation" and Macbeth the "Harry Lauder", Perdita 
opens a dancing school, using in the advertising 
Florizel's words to her, 

"When you do dance, I wish you 

A wave of the sea, that you might ever do 

Nothing but that." 

Hermione objects, but when she finds other Shakes- 
pearian heroines flocking to the studio, her shocked 
plaint, "My daughter!" has a satisfied addition of 
"and my ducats!" All goes well until Lady Mac- 
beth bumps against Katherine the Shrew during one 
of the dances, so that both fall. Angered, the Shrew 
rushes out to wreak vengeance by securing a warrant 
for each one's arrest: Hermione and Perdita for 
running a dance hall without a license, Rosalind for 
masquerading in boy's clothes, Juliet for breaking 

3 



4 SYNOPSIS 

out of the Tombs, and Lady Macbeth for violating 
the fire laws and carrying a lighted candle. Her- 
mione forestalls her by bringing in Portia, whose 
legal experience gets everybody out of difficulty. 

The dialogue is entirely made up of well-known 
Shakespearian quotations. "Each character knows 
a few of her own lines, and a great many of every- 
body's else so that Hamlet's soliloquy turns into 
Antony's funeral oration, or into Portia's plea for 
mercy for Antonio, by stages as natural as the steps 
of the dances themselves." — (Detroit Times.) 

Plays one half hour. 



THE PERSONS OF THE PLAY 

Justine, a modern college girl (or boy), who dreams 
the Dream. 

Puck, who introduces the Dream, with the following 
characters : 

Hermione, a little too stiff after her experience as 
a statue, to go in for modern dancing. 

Perdita, her daughter, originator of the Shakespeare 
Tango. 

Rosalind, the Dr. Mary Walker of Queen Eliza- 
beth's time. 

Katherine, a militant Suffragist, British Importa- 
tion. 

Juliet, recently released from the Tombs. 

Lady Macbeth, a lady with an active conscience and 
a lighted candle. 

Ophelia, mentally unbalanced through the intrica- 
cies of the Hesitation. 

Portia, the Inez Milholland of the Drammer. 
Any number of college girls, or boys. 

Note. — When given by the Bonstelle Company, Jessie Bon- 
stelle doubled the parts of Justine and Perdita, and the other 
college girls called to her through the window, no one else ap- 
pearing on the stage. When given by the Municipal Theatre 
Company, in Northampton, Mass., two college boys, Every- 
senior and Everyjunior, replaced the girls in the Induction. 
If necessary to reduce the number of participants, the Ophelia 
episode may be omitted entirely. The introductory speech of 
Puck may also be cut out, and his other lines distributed 
among the other characters. It is advised, however, to retain 
these characters if possible, as they add greatly to the charm 
and completeness of the sketch. The Dream Play may also be 
given without the Induction. Any number of other Shake- 

5 



6 THE PERSONS OF THE PLAY 

spearian women, Cleopatra, Beatrice, Viola, the Nurse, Audrey, 
Celia, Phebe, Jessica, etc., may be brought in for the closing 
dance. The dancing throughout may be as much elaborated as 
the abilities of the performers warrant. 



SCENE 

This play may be given in any setting; in an or- 
dinary room, or with, a background of drapery, or out 
of doors. When given professionally, a false pro- 
scenium arch was used, as in the productions of Gran- 
ville Barker, thus setting off the stage proper, and 
suggesting the character of a dream play. For the 
Induction there was a drop back of the arch, the 
foreground representing a girl's room at college. 
For the Dream Play, this drop lifted, disclosing a 
Greek setting. Across the stage at the back were 
black marble pillars rising from a wide portico, be- 
yond which could be seen a distant prospect of classic 
mountains. Each character made her entrance along 
this portico from the left and down the steps at the 
centre. At the right of the centre of the stage was 
Hermione's throne, of white and gold. Over it hung 
a velvet drapery shading from orchid to deep purple. 
At the right in the background was a pedestal upon 
which stood the money chest, and further toward the 
front, a chair. As each character appeared, a col- 
ored light, expressive of the personality, enveloped 
the person and illuminated the scene: for Puck's 
opening speech, a blue-violet; for Perdita, rose pink; 
Rosalind, straw color ; Katherine, red ; Lady Mac- 
beth, orange; Juliet, steel blue; Ophelia, green; 
Portia, white. 

IMPORTANT 

Unless this play is acted with absolute seriousness, 
its effect is lost. It is a satire, not a burlesque. 
Each character must be played exactly as if it were 
given in its original setting. 

7 



A 
MIDSUMMER DANCE DREAM 

THE INDUCTION 

(The stage is set to represent a girl's room 
at college with an extremely modern set- 
ting. At the right in the foreground is a 
table with a lighted electric lamp upon it. 
It is covered with large and small books. 
Papers and manuscripts are everywhere. 
Discovered: At the rise of the curtain, 
Justine is working at her table, consulting 
books and writing on her thesis. Dance 
music of the most modern sort is heard out- 
side. The girl indicates in pantomime that 
she wishes to follow the music, but she keeps 
at her work. 

Enter College Girls, out of breath from 
running, all laughing and talking at once. 
See note.) 

Ednah 
Come on, Justine. We 're having a dance at the 
Gym. 

Justine 
I can't come tonight. 

Esther 
Ah, come on. 



10 A MIDSUMMER DANCE DREAM 

Justine 
I have to work on my thesis. 

Marian 
You can do it tomorrow. 

Justine 
No. I have to finish it tonight. 

Marjorie 
Oh, come on, silly. 

Anna 
A dance will do you good. 

Justine 
No. I'm sorry. But I've got my head full of the 
Heroines of Shakespeare, and I'm not going to dance, 
nor go to bed, nor eat, nor anything, until I get all 
those classic dames locked within the pages of my 
thesis. 

(All the girls laugh at the words "classic 
dames.") 
It's now or never for "The Heroines of Shakes- 
peare." 

All 
Well, goodnight, then. 

Jane 
Good luck to the stupid old thing. - 

Justine 
Goodnight. 

(Exeunt Girls, chattering.) 
(Justine gets to work again. She grows 
sleepier and sleepier, yawning over her 
book. At last her head drops down on her 



A MIDSUMMER DANCE DREAM 11 

arms on the table and she sleeps. She may 
remain here all during 1 the Dream Play if 
desired, but must feign sleep without in- 
terruption; otherwise, she should make her 
exit during the dark change after Puck's 
speech. Music Cue: (when Justine sleeps) 
Schubert's Moment Musicale, continued. 
Enter Puck.) 

Puck 
As I am an honest Puck, 
What fools these mortals be! 
To what base uses may they return : 
Imperious Caesar, dead and turned to clay, 
Might stop a hole to keep the wind away ; 
And Shakespeare, with small Latin and less Greek, 
May yet be made in modern plays to speak. 

(Music Cue: The Puck music turns into 
modern dance music.) 

Hark, hark, a lark ! 

There is a dance toward. 

I am never merry when I hear sweet music. 

Look here upon this picture and on that. 

(Points first to girl and then to books. 
He picks up pages of the thesis, looks at 
them and blows them aside.) 

AVords, words, words. 

Sleep that knits up the ravelled sleeve of care 

Grapples her to her soul with hoops of steel 

And tents her to the quick. 

To sleep, perchance to dream? Ay, there's the rub. 

For in her sleep what dreams may come 

Must give us applause. 

(Makes passes around the girl's head with 
his wand.) 



12 A MIDSUMMER DANCE DREAM 

Mark, how I rock her brains with my air-drawn 
dagger. 

She dreams a dream tonight. The Play's the thing. 

It is such stuff as dreams are made on, and 

Its little life is rounded with her sleep. 

Come. I know a bank where a wild time flows. 

Follow my voice. We'll put a girdle round 

About the earth in forty minutes. 

Out, damned spot. 

(Puck waves his hand toward the spotlight. 
All the lights go out. He speaks through 
the darkness from another part of the 
stage:) 

Follow my voice. (He sings.) 

(The back drop lifts to show the stage set 
for the Dream Play itself. Hermione is 
seated on the throne, right. Perdita is 
standing on the steps of the portico, look- 
ing into the distance. Puck with a little 
laugh, runs down right to the front of the 
stage, where he sits on the floor with his 
hands clasped around his knees. He 
watches with interest every movement made 
by every character, laughing impishly at 
each new difficulty, and on the alert to join 
in the action during the entire play.) 



THE DREAM 

Hermione 
Now is the winter of our discontent. 

prettiest Perdita, 

True it is we have seen better days. 
Who steals my purse steals trash. Our state is 
wretched. 

(She is seated on the throne, and at the end 
assumes the Hamlet Pose.) 

Perdita 
Hermione, dear queen, hear thy admiring daughter. 

1 have a plan better to mend our fortunes. 
And so prepare to cast aside that lean and 
Hungry look. Put money in thy purse. 

(Perdita has run down to the throne for this, 
with a bundle of newspapers.) 

Hermione 
What's to be done? 

Perdita 
Be innocent of the knowledge, dearest chuck, 
Till thou applaud the deed. I have put 
This night's great business into my Dispatch, 
News, Courier, Sun, and the distracted Globe 
And in the Lark, the Herald of the morn 
The abstract and brief Chronicle of the Times. 
And tho' I hold the World but as the World 
Likewise, in that. 

13 



14 A MIDSUMMER DANCE DREAM 

Hermione 
For my own part, that's Greek 
To me. 

Peedita 
Mark me. Many a time and oft 
In the Kialto, I have trod a measure. 
Dost thou remember how young Florizel 
Did praise my dancing in no meagre terms'? 

(She shoivs Hermione a newspaper with an 
advertisement in it.) 

Hermione 
(Beading.) 

"When you do dance, I wish you ' 

A wave of the sea, that you might ever do 

Nothing but that." 

Perdita 

So said he. And to give them 
A taste of my quality, I print Viola's words: 

(Showing another passage of the advertise- 
ment.) 

"Lady, you are the crudest she alive. 

If you will lead these dances to the grave, 

And leave the world no copy. ' ' Learn of me. 

There is a tide in the affairs of men 

That taken at its flood,- — leads them to tango. 

I know a trick worth two of these. 

(She sits on a cushion at the foot of the 

throne.) 

Hermione 
(Deeply distressed at her daughter's plan.) 
I would the Gods had made thee poetical ! 



A MIDSUMMER DANCE DREAM 15 

Perdita 
The poet's eye in a fine frenzy rolling, — 
To fill my purse with money ? 'Tis to laugh, — 

(Perdita rises.) 
Say, tell me where is dancing bred, 
In the heels or in the head? 
I '11 make my foot my tutor, and they '11 learn 
The dance of fashion and the mold of form. 
There are more dances in heaven and earth, Her- 

mione, 
Than are dreamt of in your philosophy. 
What say you to a neat foot? 

(She dances a step or two.) 

Hermione 

It likes me not. 
Mischief, thou art afoot! 

Perdita 

(Crossing to the throne and trying to make 

her Mother understand.) 
Good Mother, cast thy benighted notion off, 
And let thine eye look like a friend on dancing. 
Thou know'st 'tis common. 

Hermione 

Ay, Madam, it is common, 
But 'tis a custom more honored in the breach 
Than the observance. But have thy way; 
My poverty, but not my will consents. 
(She rises, pathetically.) 

Perdita 
(Holding out her hand, she and Hermione 
stroll to the centre of the room.) 

Necessity's the Mother of Invention, 

And nothing comes amiss so money comes withal. 



16 A MIDSUMMER DANCE DREAM 

Hang out our 1 banners on the outward wall, 
The cry is still "They come." 

(She runs up the steps at the rear as she 

says this.) 

Hermione 

This castle hath 
A pleasant seat, here on the platform, 
Where I'll watch. 

(She strides hack to the throne seat.) 

Perdita 

How sweet the moon will sleep 
Upon this bank. 

(She gets the money box from pedestal.) 
Sit, Hermione, 
Thy way of life hath fallen into the sere 
And yellow leaf, but this is the very coinage 
To cure thy itching palm. 

(She gives Hermione the money box, kneel- 
ing ceremoniously . A loud knock is heard 
off left.) 

By the pricking of my thumbs 

Something trick-ed this way comes. 

Open, locks, 

Whoever knocks ! 

(Puck has laughed and dashed up on the 
steps centre, looking off when the knock is 
heard. Enter Rosalind dressed as a boy, 
carrying a copy of the World. She assumes 
the traditional Rosalind pose, her right out- 
stretched arm holding the boar spear.) 

Rosalind 
Good morrow, fair ones: Pray if you know 
Where in the purlieus of Bohemia stands 
The dancing school of Perdita? 



A MIDSUMMER DANCE DREAM 17 

Perdita 

Behold it. 
If that an eye should profit by a tongue, 
Then I should know thee by description; 
Such garments and such years. Sweet Rosalind ! 

(Rosalind salutes Hermoine and Perdita. 
Hermione calls the attention of Perdita 
to the Money Box.) 

Rosalind 
Was't thou who taught Macbeth the Harry Lauder f 
Discovered Moorish Tangos to Othello? 
The Melancholy Maxixe showed to Jacques? 
Did Castle Walks at Elsinore for Hamlet? 
And did he learn from thee the Hesitation? 

Perdita 
Yea. I must tell the truth and shame the devil. 

Rosalind (C.) 
Then on the table of thy memory 
Pray set me down a pupil. What's the cost? 

(Hermione opens the box; Rosalind opens 

her purse.) 
And thou shalt have the pay of it from me. 
Yea, twice the sum ; if that will not suffice, 
I will be bound to pay it ten times o 'er. 

Perdita 

(Gauging Rosalind's purse from aside.) 
Sweetest Nut hath sourest rind. 
Such a Nut is Rosalind. 
Frailty, thy name is one step. 

(Then to Rosalind she says aloud:) 
Fourscore ducats. 



18 A MIDSUMMER DANCE DREAM 

Hermione 
(Becoming reconciled to the idea at once.) 

Fourscore ducats at a sitting! 

My daughter and my ducats! 

(There is a knock heard off left. Rosa- 
lind pays Hermione the money. At this 
moment another loud knock is heard.) 

Rosalind 
Here's a knocking indeed ! 

(Knock is repeated. Rosalind crosses to 
left of the steps, and Puck, who has gone 
up to see what the noise is, comes down 
beyond the chair at the left. Enter 
Katherine the Shrew with a copy of the 
Times. She pauses at the top step.) 

Katherine 
Where be these Knaves? What, no man at door? 
What, no attendance, no regard, no duty? 
(She glares at everyone.) 

Rosalind 
Good Morrow, Kate, for that's your name I hear. 

Katherine 

Next Sunday week my sister's to be married. 

I must dance barefoot on her wedding day. 

(She assumes the traditional Katherine 
pose, with crossed arms and a scowl, at the 
centre of the stage.) 

Perdita 
All this I can acquaint you, Madam, 
According to the fashion and the time. 



A MIDSUMMER DANCE DREAM 19 

Hermione 
(Aside to Perdita, fearing Katherine is 
not going to pay:) 
Is she not able to discharge the money 1 ? 

Katherine 

(Overhearing' this, and throwing her hand 
bag to Hermione at the foot of the throne.) 
Here's money. Only give me so much 
Of your time in exchange for it as to lay 
An amiable siege to the art of dancing. 

Perdita 
(Opening the bag and pulling all sorts of 
feminine things from it, — but no money. 
She looks further:) 
Hast any philosophy in thee? Though last, not 
least, — 

(She has discovered a little change purse.) 

Seven groats in mill sixpences. The pity of it ! 
'Tis not enough for lesson one, good Mother. 

(Then to Katherine:) 

You're yet my debtor. 

(Perdita crosses right, takes a bond and 
quill from the money box, and holds it for 
Katherine to sign. Puck rises to watch, 
running around behind the others to centre 
to get a good view. Katherine signs it. 
Perdita is whispering to Hermione.) 

Hermione 
I think I may take her bond. 

(Hermione locks the signed bond in the 
box.) 



20 A MIDSUMMER DANCE DREAM 

Katherine 

If brevity is the soul of wit, dance on, 

And damned be she who first cries "Hold enough." 
(Puck skips up to centre and Perdita be- 
gins a dancing step, which Katherine is 
watching and about to imitate.) 

Perdita 
I shall in all my best obey you, Madam. 
(Puck is centre in the archway, 
Hermione on the throne. 
Rosalind left centre, 
Perdita near the throne and 
Katherine down left. 

Outside the wailing voice of Lady Mac- 
beth is heard ivhich interrupts all pro 
ceedings.) 

Lady Macbeth (Outside). 
Macbeth ! Macbeth ! Macbeth ! 

Katherine 
I stand like Patience on a monument. 

Hermione 
But look you yonder where the poor wretch comes 
reading. 

(Enter Lady Macbeth reading a news- 
paper by the light of a candle she is carry- 
ing. She pauses at the top step. Puck is 
nearby.) 

Lady Macbeth 
To tango or not to tango, that is the question. 

(She comes down the steps to center.) 
Whether 'tis nobler in the mind to suffer 
The slings and arrows of outrageous preachers 



A MIDSUMMER DANCE DREAM 21 

Or to put arms around the chariest maid 
Who's prodigal enough if she unmask 
Her beauty to the moon, — and the primrose path 
Of dalliance tread. Out, out Brief Candle ! 

(Puck blows the candle out. Lady Mac- 
beth does the Hamlet walk to the chair 
down left.) 

Kathekine 
( Who is at the extreme left.) 
I had as lief be taught by a snail. 

Perdita 

(Looking- off left from right centre.) 
But soft, what light thro yonder doorway breaks? 
It is the East, and Juliet has the Sun. 

(Enter Juliet with a copy of the Sun.) 

Rosalind 
The World's mine oyster! 

Katherine 

(Tearing up her paper and throwing the 

pieces under foot:) 
Words, words, words! 
The Times out of joint. 

Juliet 
Weep no more, ladies; foolery doth walk 
About the orb like the Sun; it shines everywhere. 
(She waves her newspaper.) 

Perdita 
(To Juliet:) 
Shall we make the welkin dance? 



22 A MIDSUMMER DANCE DREAM 

Juliet 

My purpose is indeed a horse of that color. 

'Twas at a dance I first met Romeo. 

Oh, he is the almanac of my true date ! 

(Perdita and Rosalind run to Juliet at 
centre to hear her confidences.) 

But something is rotten in the state of dancing. 

I can no longer put my best foot foremost. 

Hence, Perdita, come teach me, teach me, 

For now I'm in holiday humor and like enough 

To learn. 

Hermione 
(To Juliet:) 

I must entreat of you some of that money. 

Juliet 
(Giving Hermione money:) 
Dispense with trifles. 

Hermione 
(Locking the box:) 

I like her money well. 

Lady Macbeth 
Is it honest in word and deed? Is it a good thing? 
(She joins Rosalind, Juliet and Kather- 
ine at the centre and they begin a loud chat- 
ter of gossip.) 

Puck 
Ah, ha! Now they are clapper-clawing one 
Another. I'll go look on. 

(As Puck runs to listen, they all talk at 
once.) 

Katherine 
You bite your tongue at me? 



A MIDSUMMER DANCE DREAM 23 

Lady Macbeth 
Fair is foul and foul is fair. 

Rosalind 
Oh, that I were in an ale house in London. 

Juliet 
God has given you one face and you make yourselves 
another. 

(These four speeches are simultaneous.) 

Perdita 
(Trying to make herself heard above the 
clatter:) 
Friends, roaming country-women, lend me your 
ears ! 

(She holds her hand up to silence them.) 
You come to learn the tango, not to praise it. 
The evil in men's dance lives after them. 
The good is oft interr-ed with the exercise. 

Katherine 
More matter with less art. 

Perdita 
(Getting a lyre from behind the throne and 
placing it down stage right for Puck.) 

It will discourse most eloquent music, and 

If music be the food of love, play on. 

(Puck plays for the dancing. Perdita 
during the following speech has lined, up the 
others in the background and she illustrates 
each dance as she names it, taking the 
women, one after another for partners as she 
needs them.) 



24 A MIDSUMMER DANCE DREAM 

Perdita 

All the world's a dance, 
And all the men and women merely dancers: 
They have their tempos and their temperaments 
And each one in his time has many part-ners, 
His dance being in seven ages. At first the jig step, — 

(Music Cue: Jig which Perdita dances 

alone.) 
Kicking he learned it in his nurse's arms. 
Then the winding Minuet, — 

(Music Cue: Minuet, which she dances with 

Juliet. ) 

with its graces, 
And smiling happy face, creeping like snail 
Most willingly at rule. Then the Waltz step, — 

(Music Cue: Waltz, which she dances with 

Rosalind.) 
Sighing like furnace with a woful ballad made 
To his partner's ankle. Then the Polka, — 

(Music Cue: Polka, with Katherine.) 
Full of strange glides and rushing with his pard, 
Violent in action, sudden and quick in stride, 
Seeking the bubble reputation 

Even in the cannon's mouth. And then the Cake 
Walk — 

(Music Cue: Cake Walk, with Lady Mac- 
beth, who falls exhausted in the chair at 
the left when the dance is ended.) 

With naught severe and naught of formal cut, 

Full of wide steps and negro instances, 

And thus it plays its part. The sixth dance shifts 

Into the cabaret and vaudeville. 

(Music Cue: Cabaret Tango Music. No 
dance. Perdita goes down to the footlights 
for these lines.) 



A MIDSUMMER DANCE DREAM 25 

Where one may eat his fill if he hath that 
To pay the reckoning. Where servants, tipped, 
Do dance attendance on his lordship's pleasure, 
And to speak by the card, that's meat and drink 
To them. And meat it is you set it down 
That one may dance and dance and be no villain 
At least, I'm sure it may be so in restaurants; 
Dance on, you fat and greasy citizens. 
'Tis just the fashion, as if excess of 
Appetite should grow by what it feeds on. 
Tango doth murder sleep. Worst dance of all 
That ends this strange eventful history 
Is turkey-trottishness to mere oblivion. 

(Music Cue: Turkey-trot.) 

Sans grace, sans charm, sans taste, sans everything. 

(Perdita and Juliet dance the turkey- 
trot.) 

Katherine 
(Running over left to dance with Lady 
Macbeth.) 

If it were done when 'tis done, then 'twere well 
It were done quickly. 

Lady Macbeth 
(Starting to dance, and then stopping with 
one foot in the air, — ) 

Budge, says the fiend. Budge not, says my con- 
science. 

Rosalind 
Thus conscience doth make cowards of us all. 

(She takes Juliet as a partner and all 
dance, starting a one-step, or turkey-trot, 
and ending with a cake walk.) 



26 A MIDSUMMER DANCE DREAM 

Hermione 
(Afraid she will lose money if she does not 
satisfy all doubts:) 
There's nothing either good or bad but thinking 
makes it so. 

Perdita 

Wisely and slow! They stumble that go fast. 

Come, dance it orderly and well. Suit 

The action to the word and the word to the action. 

(She lines them up in a row across the 
stage, standing before them. Music Cue: 
Maxixe. They strive to imitate her, awk- 
wardly.) 

Follow me: do not saw the air too much with your 
hand thus. 

Look here upon this picture — and on this. 

(She poses first awkwardly and then grace- 
fully to illustrate her meaning. They 
dance a few steps of the Maxixe to the right 
and then back to their former places.) 

What's in a name? A Fox Trot 

By any other name would still be sweet. 

(Music Cue: Fyc Trot: Perdita dances 
with Juliet, to the right, then to the centre. 
Rosalind follows alone to the right, imitat- 
ing.) 

Rosalind 
'Tis as easy as lying. 

Perdita 

You're to the manner born. 
(Perdita takes Rosalind as a partner, danc- 
ing from right to left. Juliet steps back 
right centre.) 



A MIDSUMMER DANCE DREAM 27 

Juliet 
She does it with a better grace, but I 
Do it more natural. 

Katherine 

Lord, how weary are my spirits. 

Eosalind 
(Stopping her dance, she draws a long 
breath and hits the top of her hoot.) 

1 care not for spirits, if my legs were not so weary. 

(Peedita stands at the left watching. 
Katherine and Rosalind dance a fox trot 
from left to centre, Juliet and Lady Mac- 
beth from right to centre. Katherine and 
Lady Macbeth lump, back to back, and both 
fall sprawling, their feet straight out before 
them.) 

Puck 
A hit! A very palpable hit! 

Juliet 
Angels and ministers of grace, defend us! 

HeRJBiWONE 

(Rising on the throne platform:) 
Oh, what a fall was that! 

Lady Macbeth 
(Still on the floor:) 
Some of us will smart for it.' 
Can such things be and overcome us like 
A summer cloud without our special wonder? 

Katherine 
(Getting up and shaking herself:) 
0, that this too, too solid flesh would melt! 



28 A MIDSUMMER DANCE DREAM 

Rosalind 
(To Perdita, giggling:) 
She's fat and scant of breath. 

Katherine 
(To Rosalind, rubbing her arms:) 
You jest at scars who never felt a wound. 

(Juliet has succeeded in helping Lady 
Macbeth to her feet, at left centre.) 

Katherine 
(At centre.) 
Madam, you have done me wrong, notorious wrong. 

Hermione 
The lady protests too much, methinks. 

Katherine 
You marble-hearted fiend ! 

Perdita 

(Coming in front of Hermione:) 

Why, what's the matter? 

Katherine 
I am nothing if not critical. I would 
Speak daggers to her. But I am too full 
Of the milk of human kindness. 

(She looks fixedly at Lady Macbeth. All 

laugh. To Perdita; 

Shame, where is 
Thy blush? Neither rhyme nor reason lies 
In the deep damnation of your taking off. 
Dressed in a little brief authority, 
You do teach us a midsummer madness. 
You tent us to the quick. Go ! Get thee 



A MIDSUMMER DANCE DREAM 29 

To a nunnery. I do remember 
An apothecary could dance as well. 

Perdita 
(Breathless from astonishment:) 
I was never so be-rhymed since Pythagoras' time. 

Katherine 
(With withering scorn:) 
When you were an Irish Rat! 

Hermione 
Still harping on my daughter. 

Perdita 

There's no offence. 

Hermione 
(Rising:) 
Yes, by St. Patrick, but there is. 

Perdita 

'Tis not 
That time of moon with me to make one in 
So skipping a dialogue. 

Hermione 

The retort courteous ! 
(She sits again:) 

Katherine 

(Getting ready to go:) 
God give them wisdom that have it, and those 

(Looking at Perdita, meaningly:) 
That are fools, let them use their talents. 



30 A MIDSUMMER DANCE DREAM 

Perdita 

Alack ! 
How sharper than a serpent's tooth it is 
To teach a thankless shrew! 

Hermione 

The reproof valiant ! 
Yet more in sorrow than in anger. 
My daughter! 

(Suddenly remembering that Katherine 
has not paid for the first lesson she rises:) 
And my ducats ! Madam, hold, 
Omittance is no quittance. 

Katherine 

You can fool 
No more money out of me at that throw. 

Hermione 
I'll have my bond. I will not hear thee speak. 

(Rattling the cash box, she opens it and 

takes out the Bond.) 
I'll have my bond! 

Katherine 
Thrift, thrift! Hermione. 

Age cannot wither her, nor custom stale 

Her infinite avariciousness. 

(Katherine goes tip the steps at centre. 
Then to Perdita:) 

I'll trip you so your heels may kick at heaven 

And I am then revenged. 

(Katherine exits left centre and Puck, 
carrying the lyre, watches her off, and then 
places the lyre at the right of the steps. 
Rosalind has gone up centre to watch Kath- 



A MIDSUMMER DANCE DREAM 31 

erine off also, and as she disappears, she 
speaks:) 

Kosalind 
I dote on her very absence. 

Juliet 
That was laid on with a trowel. 

(Ophelia appears, in the floiving white 
robe, with the wreath of tvild flowers about 
her hair, and her arms filled with nonde- 
script weeds.) 

Perdita 

(Speaking before Ophelia is seen by the 

others.) 
Soft you now, the fair Ophelia. Nymph, 
In thy orisons, be all our dance remembered. 

Ophelia 
Where is the beauteous majesty of dancing? 

Lady Macbeth 
what a noble mind is here o 'erthrown ! 

Ophelia 

(Singing plaintively as she comes forward:) 
How should I my Hamlet know, 
From another one? 
By his Hesitation waltz, 
And his tango shoon. 

(She wanders aimlessly down centre.) 

Hermione 
(Who has stood watching her, now sits:) 
Mad for the tango? 



32 A MIDSUMMER DANCE DREAM 

Perdita 

Indeed, I do not know, 
But truly I do fear it. 

Ophelia 
Sweet ladies, I was sewing in my parlor; 
Lord Hamlet with no hat upon his head, 
Pale as his shirt, his knees knocking each other. 
He comes before me. 

Lady Macbeth 
(Stalking over and seizing Ophelia's 
wrist.) 

What said he ? 

Ophelia 
He took me by the wrist and held me hard. 
Then goes he to the length of all his arm. 
Long stayed he so. 
At last a little shaking of mine arm, 
And thrice his steps thus waved he up and down, 

(She dances with Lady Macbeth, three stiff 
steps down stage.) 
That done he lets go. 

Perdita 
proper stuff ! 
This is the very painting of my fear. 
This is the Hesitation which I said 
I taught to Hamlet. 

Lady Macbeth 

That way madness lies. 

Ophelia 
(Singing :) 
Tomorrow is Saint Valentine's day. 
All in the morninsr betime, 



A MIDSUMMER DANCE DREAM 33 

And I must master the tango, 
To be his Valentine. 

Hermione 
Though this be madness, yet there's method in it. 
(Ophelia begins to weep.) 

Rosalind 
Alas, poor Yorick! 

Juliet 
Like Niobe, all tears. 

Hermione 
She is importunate, indeed distract. 

Lady Macbeth 
Her mood must needs be pitied. 

Ophelia 
(Giving flowers to each of tjie women:) 

There's rosemary, — 

That's for remembrance. Pray love, remember, 

'Tis more than I can do. 

One step with the right foot, then with the left foot 
so, — 

(She attempts the steps awkwardly , but 
shakes her head sadly, as she realizes it is be- 
yond her:) 

And there is pansies, — that's for thoughts. I would 

Give you some violets, but they wither so-o-o — 

(She pronounces - this with a rising drawn 
out inflection.) 

And there is rue for you, and some for me. 

0, I must wear my rue, with a difference. 

(She fastens it on her dress upside down. 
Then she begins her song again, ivorking to- 



3i A MIDSUMMER DANCE DREAM 

ward the upper step and making her exit 
with the last word:) 

And will lie not hesitate, 

And will he not tango again ? 

No, no, he is dead, 

Gone to his death bed. 

He never will, — fox-trot again. 
(Exit Ophelia with a fox trot step at left 
centre. 

(Puck follows her as though to see what she 
will do next.) 

Hermione 

I had thought to gild myself with some more dncats. 

What time she chanted snatches of old songs ; 

Well, what's done cannot be undone. 

(Off left, there is a loud noise of tramping 
feet, and voices. It is like the approach of 
a great crowd of people.) 

Perdita 
What noise is this? 

Juliet 
(Going up the steps and looking off:) 

That way the noise is. 
(Perdita exits left centre to investigate.) 

Hermione 

Daughter ! 
Rosalind 
(Going to Hermione, left of throne:) 
She goes but to see a noise that she heard, 
And is to come again. 

(Perdita re-enters in great excitement. 
She speaks from the top of steps :) 



A MIDSUMMER DANCE DREAM 35 

Perdita 
So foul and fair a day I have not seen ! 
Here come the officers. 

Hermione 

(Greatly frightened.) 

One woe doth tread 
Upon another's heels, so fast they follow. 

(Rosalind goes to the right of the throne.) 

Lady Macbeth 
(Pointing at Hermione.) 
Who was most marble here, changed color. 

Perdita 
I would a Daniel come to judgment 
To report me and my cause aright. 

Hermione 
(Suddenly struck with a brilliant idea.) 
The better part of valor is discretion. 
I've a device to make all well. 
A horse ! A horse ! My kingdom for a horse. 

(She moves energetically to the centre of 
the room, waving her arms. Then she runs 
hack to the throne, gets the money box and 
tucks it under her arm:) 

I'll put a girdle round about the earth 

In forty minutes. 

(Exit Hermione.) 

Perdita 
(Sitting on the throne steps:) 
The game is up ! 
'Tis Katherine, with all the officers of Windsor! 



36 A MIDSUMMER DANCE DREAM 

Juliet 
(Looking' out left centre:) 
They stand at your door like a sheriff's post. 

Rosalind 
(Hiding behind the throne chair:) 
Alack the day ! What shall I do with my doublet and 
hose ? 

(Juliet hides behind a pillar on the plat- 

form and Puck dashes in and hides down 

left. 

Katherine re-enters with a huge official 

paper.) 

Juliet 
Here comes the lady ! 

Lady Macbeth 
(Standing at left centre:) 
Confusion now hath made her masterpiece. 

Katherine 

I want that glib and oily art to speak 

And purpose not. Uneasy lies the foot 

That wears a ballet slipper. 

(Perdita, sitting on the throne steps, hides 
her slippered foot quickly.) 

Now is the very 

Witching hour that I can do it pat,- — 

A deed of dreadful note. Perdita, all 

The perfumes of Arabia cannot strengthen 

Thy little hand. The jailer will look to thee. 

You cannot deny the course of law. 

(Puck slips down and lights Lady Mac- 
beth 's candle, unseen by her. Exit Puck.) 



A MIDSUMMER DANCE DREAM 37 

Lady Macbeth 
Read the indictment. 

Katheeine 
(Opening the document she carries and read- 
ing it:) 

for a Muse of fire! For Lady Macbeth would 
seem to me this night a torch hearer. How came she 
by that light? I know not. But 'tis against the law 
and Majesty of Bohemia to make insurance doubly 
sure. There's Rosalind doth wander in the forest 
and in man's apparel, and Juliet hath broken forth 
from out the Tombs, that undiscovered bourne from 
which no traveller returns. While Perdita keeps 
watch at night, holds wassail and the staggering one- 
step reels. Die a dry death ! reform it altogether. 
By such sin fell the angels. 

(Hermione enters centre, crosses to the 
throne. Perdita rises as Portia enters, fol- 
lowed by Puck.) 



Portia ! 



All 
Portia 



(At centre.) 

I am Sir Oracle, 
And when I ope my lips, let no dog bark ! 

(Hermione beckons her to take the throne 
which Perdita has vacated. Puck crosses 
to extreme left, where he sets on the floor 
chuckling at what follows.) 

Katherine 
Are you acquainted with the difference 
That holds this present question in the Court? 



38 A MIDSUMMER DANCE DREAM 

Portia 
(On the throne:) 
I am informed thoroughly of the cause. 
Which is the dancer here and which the Shrew? 

Hermione 
Perdita and Katherine, both stand forth. 
(They step forward.) 

Portia 
Is your name Katherine? 

Katherine 

Katherine is my name. 

Portia 
(To Perdita :) 
You stand within her danger, do you not? 

Perdita 
Ay, so she says, 

Portia 
Do you confess the dance hall? 

Perdita 
I do. 

Katherine 
Ha! 

(Striking a traditional pose:) 

Portia 
Without a license? 

Perdita 
My license, is, — poetical. 

Portia 
Then must the Shrew be merciful. 



A MIDSUMMER DANCE DREAM 39 

Katherine 
On what compulsion must I? Tell me that? 

Portia 
(Greatly surprised at the question:) 

Why, the quality of Mercy is not strained. 

Didst thou not learn that in thy salad days 

When thou wast green? 'Twere good you were 
schooled. 

Let's have the warrant. 

(Katherine takes it out and holds it to- 
ward Portia with rude indifference. Por- 
tia looks at her severely, whereupon Kath- 
erine comes forward and presents the war- 
rant with a bow.) 

Once more to the breach, 

If you have tears, prepare to shed them now. 

(She examines the warrant on both sides, 
up and down.) 

Ha ha! This warrant's forfeit. 

(General movement from all.) 

It is such stuff as dreams are made of. 

'Tis an air drawn dagger signifying nothing. 

Your own opinion was your law. 'Tis naught. 

(She turns and looks at Rosalind, then asks 
Katherine : ) 

Call ye that suited all points like a man ? 
A swashing and a martial outside? That? 
A tailor made her therefore let her pass 
For a man. 

(She turns to Lady Macbeth, whose candle 
Puck has blown out some time before.) 

Look to the lady. As good luck 

Would have it, see, — her candle has burnt out. 



40 A MIDSUMMER DANCE DREAM 

How far that little candle threw its beams. 
So shines a good dance in an awkward world. 

(She turns to Juliet :) 
And Juliet, — escaped from out the Tombs! 
And wherefore not, forsooth? You shut the door 
Upon a woman's wit, 'twill out at the casement. 
That warrant's old, — a poor, infirm, weak and 
Despised old thing and no more like this season's 
Than I to Hercules. Throw physic to 

(She turns to Peedita.) 
The dogs. Go wear the rose of youth upon you. 

(Portia takes a rose from her gown and 

tosses it to Perdita, who catches and kisses 

it, happily.) 
Dance on forever and a day. Yea, — 
Thank heaven fasting, for a good man partner. 
Some are born dancers, some achieve the fox trot, 
And some have bunnyhugging cast about them. 
And indeed, it is a dance more sinned against 
Than sinning. 

Lady Macbeth 
She loves to hear herself talk. 

Katherine 

(On the steps up centre.) 
Farewell, a long farewell, to all my greatness. 
My cake is dough. I screwed my courage to 
The sticking point and yet I failed. 
So to your pleasures, 
I am for other than for dancing measures. 

(Exit Katherine centre.) 

Rosalind 
(Swaggering to the steps left centre:) 
Parting is such sweet sorrow. 



A MIDSUMMER DANCE DREAM 41 

Juliet 
(Standing at the left of Rosalind at the foot 
of the steps:) 

'Tis my speech! 
Let tliem that play the clowns speak no more than 
It is set down for them. 

Portia 
Oh, if this were played 
Upon a stage now, I would condemn it 
As an improbable fiction. 

Perdita 
(Going to the door centre and leading 
Katherine back doivn stage :) 

One touch of nature makes the whole world kin. 

Thus do we find gestures in trees, dances 

In the running brooks, poses in stones, 

And good in everything. Come, our dance, 

I say ! Join us good people. 

(Puck joins the others in an Elizabethan 
round, ancient music or Schubert's Moment 
Musicale, as in the beginning. The lights 
flash out suddenly. The drop at the arch 
falls. As the lights come up again, Jus- 
tine wakes with a start, her dream still 
vivid. She looks around, stretches, rubs her 
eyes, yawns, and starts to work again on her 
thesis, and the curtain falls.) 



the end 



VAIL-BALLOU CO., BINGHAMTON AND NEW YORK 




THE GENTLEST GIANT Just had to bend over, 
or else he wouldn't have been in the picture at all. 



I 



3C= 



Drawing by Dugald Stewart Walker. 



OPERA GLASSES 

Aren't opera glasses funny things, 

The way that you can see 
By looking through the little end 

As big as big can be? 

Yet when you turn and look them through 
Where they are large and round, 

The things you look at are so small 
They scarcely can be found. 

I'm going to ask my aunt to lend 

Her glasses every day, 
So I can see things far and near, 

And have new games to play. 

Then when I look at medicine 

The far-off end I'll take, 
But use the way it looks the most 

To see ice cream and cake. 

From THE GENTLEST GIANT (and Other 
Pleasant Persons) by Anna Bird Stewart. 

Arrangements may be made with the publish- 
ers to secure the services of Anna Bird Stewart 
for talks to children or grown-ups, and for 
author's readings. Miss Stewart has appeared 
before hundreds of clubs and schools in New 
York City and throughout the country. 

Talks by Dugald Stewart Walker and pro- 
grams by a corps of other successful children's 
entertainers mav also be secured. 



LIBRARY OF CONGRESS 




014 105 975 



THE GENTLEST GIANT 

(and Other Pleasant Persons) 

Poems by Anna Bird Stewart 
Pictures by Dngald Stewart Walker 

A rare combination of real humor, poetic 
thought and true child spirit, brought out in 
attractive form and make-up. A beautiful gift 
book. The best children's poems for reading 
and recitation since Stevenson, Field and Riley. 
Widely used by schools, mothers and public 
readers. 

Teach children to love poetrjr while they are 
little, by giving them poems of literary value, 
written in good English, on subjects they will 
enjoy. 

Ask your bookseller, or send a dollar to the 
publishers. 

WAYNE PUBLISHING COMPANY, Inc.. 

153 West Forty-fourth Street, 
New York City. 



